portfolio peter schmitt - Personal Robots...

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... works by peter schmitt 2000-2014

portfolio peter schmitt

[email protected]

+1 (857) 928 6424

139 E Berkeley ST APT402Boston, MA 02118

USA

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about

Peter Schmitt (German, born in 1977) is an artist and roboticist with a Diploma in Fine Art, Sculpture, from the Academy of Fine Art (Kunstakademie) in Düsseldorf Germany (2005) and a PhD in Media Arts and Sciences from the Personal Robots Group at the MIT Media Lab (2011). Exposed to engineering and construction through his father’s business, Peter studied fi ne arts under Klaus Rinke who awarded him “Meisterschül-er” in 2003 (the highest honor a professor can award to a student) for his work with kinetic installations and machine-like sculptures. He graduated in 2005 with Thomas Ruff exploring methods for digitally sculpted photographs. At the MIT Media Lab, Peter developed electric concept vehicles in combination with robotic wheel prototypes for the folding, electric CityCar in Prof. William J. Mitchell’s Smart Cities Group. After Prof. Mitchell’s sudden passing, Peter continued his PhD research under Prof. Cynthia Breazeal developing computational tools and methods for defi nition-driven ideation, creation and control of functional 3D printed machines and robots. After graduating, Peter launched Original Machines Studio. As part of his interdisciplinary practice, he is collaborating with Chris Bangle, CBA (Turin, Italy) and advising General Sensing Ltd (Hong Kong) as their Head of Design.

Peter Schmitt’s work addresses contemporary challenges in digital fabrication and 3D printing: break away from old approaches to making, reduce the inherent complexity and enable larger and more diverse audiences to claim authorship of physical, me-chanical and robotic things. Applications spanning industry, consumer products and art can be realized using the object-oriented mechatronic method Peter developed as part of his PhD research. Automatic engineering and control solutions handle com-plexity for the user and drive software-based generation of functional, 3D printable parts. The resulting machines can be controlled by reconnecting them to the very same software which created them thus closing the loop between user, computer and 3D printer for faster and cheaper creation and iteration of design driven mechanical and robotic applications. “Form Drives Function” (rather than “Form Follows Func-tion”) is the motto for Original Machines, the term Peter coined in his dissertation to describe the outcomes of object-oriented mechatronics and the name of his studio.

In 2009, with inspiration provided by Robert Swartz, Peter created the 3Dprinted-Clock, a complete and assembled clock entirely created by a 3D printer. With the help of an added metal weight, the grandfather clock starts ticking as soon as it is removed from the 3D printer. The 3DprintedClock was exhibited at ARS Electronica (2009) and at the Disseny Design Hub Barcelona (2010) where it is now part of the permanent collection. During his time at MIT, Peter designed and built three winning cardboard boats (2008, 2009, 2010) for the Head of the Zesiger MIT cardboard boat competition applying parametric design and digital fabrication strategies. The 2008 boat “Bailout” is now part of the Nautical Collection at the MIT Museum. Together with Axel Kilian, John Snavely and Philip Block, Peter won the MIT Dept. of Architecture’s Mini-Skyscraper competition in 2005 for which the team built a (40-foot/12-meter) responsive structure utilizing pneumatic muscles. At the Media Lab, Peter served as Highlands and Islands Enterprise Fellow (2007 to 2008) and Hasbro Fellow (2010 to 2011). Peter was awarded a Cusanuswerk scholarship (2003-2005) to pursue his graduate education in the Fine Arts.

As an artist Peter Schmitt’s works in the fi eld of kinetic installations and machine-like sculptures have been exhibited internationally and are part of the permanent collec-tion at the Academy of Fine Art (Kunstaklademie) Düsseldorf, the Disseny Design HUB and private collections in Puerto Rico and the United States.

“The printed world”, The Economist: http://www.economist.com/node/18114221“Off Book: Product Design”, PBS arts: http://www.pbs.org/arts/gallery/off-book-epi-sode-11-product-design/off-book-episode-11-product-design/

photograph by peter schmitt

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Schmitt, P. A. (2011). originalMachines: Developing Tools and Methods for Object-Oriented Mechatronics. PhD Thesis. Mas-sachusetts Institute of Technology.

originalMachines: Object-Oriented Mechatronic (method)

The digital revolution has fundamentally changed our lives by giving us new ways to express ourselves through digital media. For example, accessible multimedia content creation tools allow people to instantiate their ideas and share them easily. However, most of these outcomes only exist on-screen and online. Despite the growing acces-sibility of digital design and fabrication tools the physical world and everyday objects surrounding us have been largely excluded from a parallel explosion of possibilities to express ourselves. Increasingly, web based services allow professional and non-professional audiences to access computer-aided manufacturing (CAM) tools like 3D-printing and laser-cutting. Nonetheless, there are few (if any) design tools and methods for creating complex mechanical assemblies that take full advantage of CAM systems. Creating unique mechatronic artifacts or “originalMachines” requires more specifi c and sophisticated design tools than exist today. “Object-Oriented Mechatron-ics” allows the user to gain control over all aspects of the machine-object includ-ing not only its shape, form, size, and material properties, but also its functionality, control, and animation. It uses the computer and computational tools holistically to integrate design, fabrication and controls overcoming the limitations of both the kit-of-parts approach and the free-form process. It is a parametric design methodology that connects knowledge about mechanical assemblies and electronics with the require-ments of digital manufacturing processes. Parametric instances like gears, bearing and servos are made available as objects within a CAD environment which can then be implemented into specifi c projects. The approach addresses the missing link be-tween accessible rapid-manufacturing services and currently available design tools thereby creating new opportunities for self-expression through mechatronic objects and machines.The dissertation has contributions on multiple levels. A host of actuator assembly ex-amples and the parametric design tool present a body of novel work that illustrates the benefi ts of going beyond off-the-shelf actuator assemblies and kit-of-parts for original machines. The design methodology and the accompanying examples will empower more users to design original machines with custom actuator assemblies using the latest digital fabrication tools. Finally, these explorations will illustrate how new CAD/CAM tools can facilitate an interdisciplinary exchange between design-oriented and engineering-oriented users.

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an example of an originalMachine as a 4DoF entirely 3D printed robotic neck assembly for human like head actuation.

originalMachiens: Idling

Idling is an example of an originalMachine involving multiple degrees of free-dom with the intention to show the organic and fl uid integration of actuators, bearings and a robot body. To emphasize the organic properties the robot links a cubical wooden pedestal and head block from which and into which it develops and dissolves. The robot’s anatomy mimics a 4-DOF neck joint giving the head cube a human-like expressiveness. Idling refers to a kind of behavior where no concrete goal is pursued but rather a random pattern of “looking around” is executed. This type of motion evokes life-like associates enhancing the experience of observing “Idling”. The design process followed the object-oriented mechatronic method. This process took approximately four iterations until a fi nal shape was selected for 3D printing.

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an example of an originalMachine integrating actuated servo wheels, a large diameter ball bearing swivel caster and a vehicle chassis into an entirely 3D printed functional robot.

originalMachines: differential drive robot

The type of robot referred to as “differential drive robot” is fairly common and used as basic teaching example for robotics. The robot has three wheels two of which are the co-axial drive wheels and the third one is a free spin-ning caster which can be in the front or back. Some types use two casters one in the front and one in the back resulting in a four wheeled (diamond confi guration) robot. The drive wheels are identical in terms of motor, gear-ing and wheels diameter. The control of the robot results from the identical co-axial drive wheels which can move the robot forward in a straight manner while spinning at the same speed or steer the robot while spinning at differ-ent speeds. The body of the robot needs to house the power source which in most cases is a battery, the drive, control and communication electronics and sensors needed for navigation. Applying the object-oriented mechatron-ic approach the mechanical functional components of the differential drive robot can be created procedurally. The bearings in the back enabling the swivel caster are a subset of the paraServo object basically striped down to only create the load-bearing output. All these components are then inte-grated in the vehicle chassis in order to create and 3d print the entire robot within 21 hours

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parametrically self creating and updating 3D printed harmonic drive Servos

paraServo

An important building block for machines and robots is a servo motor as it provides precise actuation for various applications. Servos consist of motors gearbox, drive and control electronics which has to function together in order to provide actuation. The paraServo turns most of the components required for a servo motor into an executable which is based in a CAD environment. A user calls a DoF (Degree of Freedom) object (paraServo) with specifi c parameters like gearing and bearing types, motor options and control and communication capabilities. The DoF object then creates the correspond-ing geometry which can be connected and integrated with other actuators, shells, hulls, forms and geometry within the CAD environment and 3D print-ed as a whole.The paraServo in particular contains a harminoc drive gear reducer with planetarry wave generator in combination with a four-point contact bearing for load bearing outputs. The motor and servo electronics consist of an Ar-duinocompatible circuit with an integrated H-bridge and optical interrupter as sensor.

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Plywood Punk: A Holistic Approach to Designing Animated Artifacts, Schmitt, P., Seitinger, S., (2009) Proceedings of the Third International Conference on Tangible and Embedded Interaction (TEI’09), Feb 16-18 2009, Cambridge, UK

plywood servo

Animated artifacts require many different electronic and mechanical compo-nents as well as appropriate drive software. This complexity has led to a kit-of-parts thinking in designing robotic assemblies. For example, Dynamixel or Lego Mindstorms provide designers, enthusiasts and children standard components from which they can assemble a multitude of creations. Despite the open-endedness of these kits, the most basic component parts such as servos present a designer with a set of constraints such as form that she cannot control. The underlying logic for these factors derives from mass-production rather than specifi c design requirements. The resulting black box becomes a factor around which design is created rather than an integral part of the completed artifact. The plywood servo explores the benefi ts of design-ing animated artifacts holistically. It can be compared to an RC servo that had been re-designed in plywood and electronic components. This juxtapo-sition demonstrates how formfactors, materials and materiality, tactile and visual qualities and the performative aspects of a design can be reintroduced into design thinking for animated artifacts.

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Rudiments 1, 2 & 3: Design Speculations on Autonomy, Helmes, J., Taylor, A. S., Cao, X., Hook, K., Schmitt, P. & Villar, N. (Jan, 2011). Conference on Tangible Embedded, Embodied Interaction, TEI ‘11, pp. 145-152.

Audiograph

The “Audiograph” happened in collaboration with Alex Taylor at Microsoft Research Cambridge UK. It is based upon the PlywoodServo mechanism and part of a series of artifacts called “rudiments” (Helmes, Taylor, Cao, Hook, Schmitt, P. & Villar 2011). The interdisciplinary research team from design, ethnography and embedded hardware aimed to create surprising and novel objects that have no precedent in order to explore people’s reac-tions to them in a home setting. This requirement seeded an integral quality of originalMachines, namely the integration of various components to create an appearance different from customary home electronics or appliances. To achieve the desired aesthetic and behavioral qualities, Taylor and Schmitt used the PlywoodServo as a building block integrated into an assembly of the same material to create an unusual drawing machine. Sensors in the base of the Audiograph localize the direction from which sounds in the en-vironment are coming. The PlywoodServo at the center of the object then moves an arm towards the sound. As the arm moves it draws a line with a pencil and distorts it as a result of a free hinge in the middle of the arm.

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a functional clock entirely and assembled 3D printed, working right out of the printer.

3DprintedClock

The 3DprintedClock ( in collaboration with Bob Swartz, MIT Media Lab) presents a fully functional clock using a pendulum and descending weight to keep track of time. It was modeled in CAD software after an existing clock while ensuring gaps and clearances in between its components matched 3D printer specifi cations. The entire clock was 3D printed in one piece with the exception of the metal weight. A 3D printed container meant to be fi lled with sand or water could replace the metal weight but for build size requirements the metal weight solution was chosen. The CAD model also included drain-age holes and channels to fully remove the support material after the print. After the printing process the support material has to be removed before the clock can be mounted on a wall. Once the metal weight has been added it will start ticking. The design underwent several iterations staring with the fi rst version having an open gear train and frame while the following iterations enclosed the gear train within the casing to demonstrate the gears being created within the case to emphasize the lack of any post-printing assembly. The biggest challenge throughout the design process presented itself in the form of friction between the 3D printed parts. Ball bearings were added to the main axle to ensure all force created by the weight is be transmitted through the gear box to the escapement mechanism.

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an early exploration integrating design and mechanics through 3D printing.

3DoF Head

The three degree of freedom (DoF) head tries, as an early example, to integrate overall object design with mechanical parts and assemblies like bearings and gear boxes and their necessary actuation sources (motors). It would serve the purpose of positioning some sort of end effectors around the three axis of motion like a camera or a tool.

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a series of design explorations investigating mechanical components and assemblies for digital fabrication.

cook book

The cook book contains a series of explorations investigating the boundaries of available rapid manufacturing techniques for use with mechatronic com-ponents and assemblies. The main focus is on power transmission elements like gear boxes and bearings as they represent a primary building block for any actuated object. A range of commonly used power transmission assem-blies is included: planetary gear boxes (including spur and helical gears), cy-cloidal gear reducers, harmonic drives and worm/ball worm drives. In addi-tion to power transmission elements joints and bearings are also explored as they play a key enabling role for any kind of motion. The explorations focus on elements rendered in different materials like wood, plastic and metal with different rapid manufacturing tools like the laser cutter, cnc mill and various 3D-printers. The challange is to fi nd appropriate translations, settings and strategies depending on the intention for the desired mechanism, the mate-rial and the tools fl avoring the explorations to be more like a cook book.

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applying parametric design and digital fabrication to the annual MIT Cardboard boat competition

cardboard boats

The Head of the Charles Regatta® on the Charles River inspired the an-nual Cardboard Boat Competition at the Massachusetts Institute of Tech-nology (MIT) which has been held at MIT since 2007. Unlike the Head of the Charles, the competitors in the Cardboard Boat Competition design and build their own boats for the race under strict guidelines that constrain mate-rial selection, size, and weight. The builders also compete themselves for the Head of the Zesiger, the MIT athletics and pool facility. The Cardboard Boat Competition is the latest example in a longstanding interest at MIT and at the MIT Media Laboratory for amateur boat building which combines engi-neering skills, creative problem-solving and physical ability.

In October 2008, “Bailout” won the most Cardboard Boat Competition in the time trials and for its construction. It explored how parametric design and fabrication tools support do-it-yourself boat design and construction. The project was so successful and sparked so much interest that we are launch-ing a research forum intended to foster a discussion on amateur boat build-ing. Bailout is now part of the nautical collection at the MIT museum.

In October 2009 “Clunker” and October 2010 “Oily” did win the MIT Card-board Boat Competition. The team during all three years consisted of Dale Joachim, Arthur Petron and Peter Schmitt.

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building a responsive structure as the winning entry for the MIT Dept. of Architecture’s Mini Skyscraper competition (2007).

mini Skyscraper

In a team with Axel Kilian, John Snavely, Phillip Bolck and Peter Schmitt the Mini Skyscraper was build to demonstrate the advantages of integrating ac-tuation into structural design. As in noise canceling headphones pneumatic muscles were used to cancel mechanical vibrations thus stabilizing an archi-tectural structure. A functional model was build be Schmitt to demonstrate the concept at the competition. Through many iterations the fi nal design was refi ned and build in fi berglass using pneumatic muscles sponsored by Festo.

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actuating a surface membrane from within.

Industrial Design Intelligence

For the Industrial Design Intelligence course thought by Ted Selker at the MIT media lab in 2005 Schmitt developed and prototyped an “actuator inte-grated membrane”. The incentive is to create a surface capable of deforming itself while solely relying on integrated actuators rather than being suspend-ed or supported from the outside. For this purpose pneumatic cushions were casted which when infl ated will span open a kind of umbrella mechanism. Each umbrella mechanism is connected with surrounding nodes forming a surface which’s thickness is determined by the height of the mechanism. If actuated one mechanism will increase surface area in its particular spot thus forcing this spot to arch out forming a dome. A prototype was made using laser cut plywood, silicon casted pneumatic cushions and rubber bands.

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developing wheels that self contained drive, steer, brake and suspend cars while enabling modular vehicle architecture

wheel robots and concept vehicles

During his master’s program with William J. Mitchell at the MIT Media Lab Schmitt worked on various concepts for wheel robot iterations and modular vehicle architecture.

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Bernd Glaser writes about kinetic sculptures by Peter Schmitt (translated into english by SusanneSeitinger)

text

Die Werke des Bildhauers Peter Schmitt führen in eine eigenartige, aber klar strukturierte Welt. Der Künstler verwendet vorwiegend technische Materi-alien (Aluminium, Kunststoff, Stahl) und gefundene oder gesuchte Fertigteile oder Halbfertigteile aus dem Maschinen- und Apparatebau (Wellen, Zahn-räder, Lager, Motoren), die er nach einer Funktion-sidee zu Maschinen montiert. Es entstehen poe-tische Geräte von eindringlicher Exaktheit, die dem kollektiven Bewußtsein unseres usammenlebens mit vielerlei Geräten des Alltags zu entstammen scheinen. Ausgangspunkt ist für Peter Schmitt sein technisches Interesse und die Auseinandersetzung mit den Möglichkeiten der Bildhauerei in der Gegen-wart. Die nummerierten Skulpturen sind zunächst für den Betrachter geheimnisvolle „Organismen“, deren Funktionalitäten zwar erfasst werden können, deren Ziele und Wirkungsweisenaber offen bleiben. Läßt man sich als erwachsener Betrachter nicht auf die Poesie der Geräte ein, ent-steht nach der anfänglichen Verwunderung zunächst ein Gefühl der Sinnlosigkeit. Sieht man jedoch das Spielerische in den Arbeiten, wie es Kinder intuitiv in allen Dingen automatisch erkennen, dann eröff-net sich ein neuer Möglichkeitsraum, der erst noch erkundet werden muß.

Bernd Glaser (http://bernd-glaser.de/)

Peter Schmitt‘s sculptures invite the observer to par-ticipate in a well-ordered, but unusual world. Each piece consists of digital and mechanical components that he has either custom-made in metal, wood and composite materials or found and re-appropriated ac-cording to their aesthetic (e.g. wiring, fabric) or func-tional characteristics (e.g. motors, bearings, gears). Together these components form poetic sculptures of machine precision that reveal the collective subcon-scious of our machine-laden everydaylives. By emphasizing the aesthetic qualities of our increasingly technologized surroundings Schmitt pro-poses new opportunities for contemporary sculpture. The pieces are numbered like natural specimens whose behavior, i.e. functionality, can be observed, but whose purpose remains undiscovered thus blur-ring the boundaries between organisms and ma-chines. Each sculpture movesaccording to a unique set of programmed behaviors. Some (adult) observers may fi nd these routines repet-itive and meaningless. In this reading, the sculptures are instantiations of absurd machines like robots in shop windows replicating the same movement. Other (more childlike) observers can glean the existence of a playful and almost willful poetic organism that chal-lenges us to reconsider ourmachine creations.

Susanne Seitinger (http://susanne.media.mit.edu/)

academy of fi ne arts duesseldorf germany, photo by peter schmitt

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small mechanical fl ower (2007)

009#07

The small mechanical fl ower kinetic art piece draws from natural phenom-ena of changing materiality through blooming. The “blossoms” made from Delrin plastic sheets each contain plywood inner pieces which get exposed every cycle at the uppers position (115cm). The plate on which the nine rods carrying the blossoms are mounted is moved up and down by a threaded rod turned by a motor in the base. Each cycle takes 20min to complete.

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paper fl ower (2006)

008#06

The paper fl ower 008#06 are inspired by the earlier paper tree installations. Each fl ower piece is made from various materials like plywood, composite rod, adding machine paper role, worm gears, electric motors, blades, elec-tronic, microcontroller, software, wire switches, sensors, power supply.

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paper tree Space Other (2006)

007#06

The paper tree installation at Space Other in Boston in 2006 is created after the 004#03 piece using laser cut plywood. The 27 leave units each contain a microcontroller circuit and are suspended from their cables which form braches and trunk of a tree. 007#06 is a limited edition of three pieces.

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casted portraits (2005)

006#05

006#05 is a 200cm by 300 cm by 1.2cm (thin) sculpture in which the 1.2cm relief of a sleeping woman head is milled (using 005#04) into a polycarbon-ate plastic sheet and then casted with UV stable resin mixed with oil painting pigment. The “thickness” of the cast determines the brightness thus resem-bling the image of the sleeping woman. This technique was developed by Peter Schmitt.

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CNC Milling Machine (2004)

005#04

005#04 is listed as a art piece and build by Peter Schmitt yet fulfi lls the pur-pose of a tool serving the creation of art pieces by Peter Schmitt. It is made from various materials like steel, linear rails, recirculating ball screws, wire, stepper motors, computer, software. Its dimensions are 270cm by 340cm by 110cm. It can cut/mill parts as big as 180cm by 250cm by 25cm.

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paper tree academy of fi ne arts duesseldorf(2003)

004#03

Made from 87 “mechanical leaf” units casted in epoxy resin each contain-ing two motors one pushing out paper from a role and one cutting off the paper both at control signals randomly given by a microcontroller unit this ceiling suspended mobile installation imitates a cherry tree in the spring time developing white blossoms and having the blossom leaves blown away by the wind. The 250cm diameter and 210cm height kinetic installation is made from various materials like epoxy resin, adding machine paper roles, blades, electric motors, electronics, wires, microcontroller, software.

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orchids (2002)

003#02

The orchids are three kinetic art pieces modeled after actual orchids. They are made from various materials like steel, aluminum, electric motors, lin-ear rails, tulle, green wire and switches. A pivoting and linearly movement causes the orchids the twist and elongate while growing from their initial height of 80 cm up to their fi nal height of 240cm. The tulle fabric blossom is opened by releasing fi shing wire from a winch which allows the spring steel rods woven into the tulle fabric to fully spread out and gain volume. Green wire is used to along the mechanical stem.

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palm tree (2001)

002#01

The palm tree is a single kinetic art piece made from various materials like steel, aluminum, electric motors, plastic foil, wire and switches. It containing 24 rods on which upper ends spring loaded blossoms sit in cylindrical con-tainers being moved up and down continuously by a plate their lower ends are mounted on. At the top of each movement the blossoms are forced out of the containers and spread out. A threaded rod in the center of the plate driven by an windshield wiper motor causes the motion in a quiet and slow manner (20 min per cycle, 120cm to 210cm in height).

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mechanical fl ower (2000)

001#00

001#00 is a single kinetic art piece resembling a mechanical fl ow-er build from various materials like steel, aluminum, electric mo-tors, canvas, wire and switches. It moves, grows very slowly from its smallest position (120cm) to its fi nal height of 460cm in about 25min. Three canvas umbrellas “bloom” for about 5min before the fl ower contracts again.

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“The printed world”, Economist, 10 Feb. 2011 (http://www.economist.com/node/18114221)

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